Monday, December 31, 2007

Making this list was really difficult. On another day, Huck Finn, Vernon God Little, Of Human Bondage, or Lolita might have made it, but I guess it really just means that this was a great year for reading. Here's hoping 2008 is as good.

Sunday, December 30, 2007

Apparently Charlie Dickens only had a few ideas regarding Christmas. They are as follows:1. ghosts, ghouls, or goblins2. a large, poor family3. someone who is either sick, dying, or dead…preferably a small child4. a miserly old manNearly all of the eight stories in this collection feature at least one of these themes. On a number of occasions, it felt as though Dickens was forcing them into the story.

While I realize that it is not fair to judge Dickens by this collection alone, the poor quality of these stories was shocking. Like most, I was familiar with ‘A Christmas Carol’, but I had never heard of the other seven stories that make of this collection. There is good reason that I hadn’t. Again, to be fair, they were not necessarily selected because they were some of Dickens’ best work, but because they deal with Christmas in some way.

‘Christmas Festivities’This was a very short article describing – you guessed it – Christmas festivities. Not bad, but nothing noteworthy.

‘The Story of the Goblins Who Stole a Sexton’This short story was about a gravedigger who is working on Christmas Eve, which I am sure Dickens considered tantamount to blasphemy. As he is toiling away late in the evening, he is confronted by a group of goblins, who, based on Dickens’ description and the accompanying engraving, strongly resemble court jesters. They take the gravedigger deep into the earth, possibly to one of the outer circles of hell, although this is not clear. Then they proceed to show him various people celebrating Christmas, as they feel he should be doing. They end by showing him the family of the little boy whose grave he had been digging. The gravedigger wakes up the next morning in the graveyard and is so freaked out that he just leaves. People speculate that he was taken by goblins (the natural assumption) and stories abound about his exact demise.Dickens’ was not quite there yet…something was missing.

‘A Christmas Episode from Master Humphrey’s Clock’This was an extremely short story about a man who befriends a deaf man on Christmas. A deaf man…that’s close, but not good enough. Come on, Dickens. Tug at my heart strings.

‘A Christmas Carol’A tiny, dying boy who can only walk with the aid of a crutch…bingo! This was generally well written, and it featured the most character development of any of the stories in this collection. It was also funny. The same cannot be said for the other stories.

‘The Haunted Man’Boy I hated this story. It was about the length of ‘A Christmas Carol’, maybe even a little longer. However, it was convoluted and disjointed. Much of the problem stemmed from ill-defined characters coupled with poor use of names. Dickens would refer to the numerous characters in this story by more than one name, making it very difficult to understand what was happening.As far as I could tell, everywhere that this old man – a professor – went, he sowed discord and strife. For some only partially explained reason, this man was haunted by a doppelganger ghost…a doppelghoul if you will. At the other end of the spectrum, there is a young lady who seems to spread cheer. She is a maid for the professor. Because their paths were inadvertently similar one evening – with the geezer always a few minutes ahead of the girl – this young girl catches the brunt of the ill will that resulted in others due to the presence of the old man. The professor realizes this and sets out to make it up to her…sort of. Along the way, he encounters a ragamuffin orphan (bingo!), an old dying man, and a young student who appears to be faking an illness (at best he is milking his recovery time for all that he can). The professor also encounters a Cratchit-esque family, sans dying/crippled child. The old man, who doesn’t really appear to be particularly mean or bad, has a “change of heart” and miraculously the story concludes with essentially every character sitting around the professor’s table.Ham fisted to boot.

‘A Christmas Tree’This story was the most bizarre of this collection. Dickens spends most of the essay describing a decorated Christmas tree. A tree that is adorned with bulbs, string, pictures, scary porcelain masks, books, dolls, trains, and a slew of characters from The Arabian Nights, which Dickens apparently loved. About 10 pages into this 16-page essay, Dickens begins describing places or people that are haunted or visited by ghosts. He spends little more than a paragraph on each person or place. The result is a ridiculous, unimaginative listing of haunted people and places. Feliz Navidia de los Muertos!

‘What Christmas Is, As We Grow Older’In the same style as ‘Christmas Festivities’, this essay describes a Christmas celebration, centering on the elderly family members in attendance.

‘The Seven Poor Travellers’Dickens describes a Christmas dinner that he planned with the expressed intent of inviting some travelers that were boarding close to his house. Luckily this was rather short.

Most of the pieces in this collection were uninteresting, unimaginative, and really quite awful. Some of them made very little sense. At best they felt like toss offs by Dickens, which I suspect they were. Read ‘A Christmas Carol’ and avoid these other stories entirely.

Here is my 62nd, and most likely final, book of the year, The Corrections by Jonathan Franzen. Here is a review of the same book by Brent.

For those of you too lazy to click the link (Carlton), here is a plot summary: The Corrections follows the Lambert family as it deals with the quickly deepening Alzheimer's of its patriarch, Alfred. Five major narratives are weaved together: Alfred's, his wife Enid's, their sons Chip and Gary's, and their daughter Denise's. Chip is a former university professor disgraced by an affair with a student who gets involved with a complex scheme by a Lithuanian politician to defraud American investors. Gary is a wealthy but intensely unsatisfied broker whose family life is like a battlefield. Denise is a restaurant chef dealing with her sexuality.

On the surface The Corrections is very boring; most of the issues at hand are commonplace to the point of being uninspired. But Franzen imbues them with a deep wit and cautiously observed meticulousness that lends them the fullness of realism, tracing each character's life from early childhood. The Corrections has an epic sweep to it; it endeavors to capsulate five lives in five hundred pages and does pretty well.

I liked The Corrections, but I didn't really love it. For one, it reminded me of too many other books--White Noise, Disgrace, Money, Absurdistan--at different points, but each isolated part didn't really measure up to the work that it reminded me of. Furthermore, Franzen's prose is extremely bloated--some sentences ramble on for half a page. Here's a sample:

It was the alarm bell of anxiety... By now it had been ringing for so many hours that the Lamberts no longer heard the message of "bell ringing" but, as with any sound that continues for so long that you have the leisure to learn its component sounds (as with any word you stare at until it resolves itself into a string of dead letters), instead heard a clapper rapidly striking a metallic resonator, not a pure tone but a granular sequence of percussions with a keening overlay of overtones; ringing for so many days that it simply blended into the background except at certain early-morning hours when one or the other of them awoke in a sweat and realized that a bell had been ringing in their heads for as long as they could remember; ringing for so many months that the sound had given way to a kind of metasound whose rise and fall was not the beating of compression waves but the much, much slower waxing and waning of their consciousness of the sound.

It isn't that this style doesn't work; to the contrary, the way that it pyramids upon itself accurately reflects, I think, the jagged but connective nature of human thought and experience, which Franzen seeks to capture. But at times it can often be straning. Information in The Corrections comes at an overload pace, and because the phrasing can be so ungainly it seems anything but effortless. It's as if you can hear Franzen typing--as opposed to say, someone like Cormac McCarthy, whose sentences are so carefully composed and minimalist that they seem to exist absolutely and without a creator. Franzen's style works for the purpose; but to me it wears out its welcome.

Still, I enjoyed the book. If I hadn't known how much Brent liked it already, I probably would have recommended it to him because it has that quirky, true-to-life feel that seems to me in Brent's own style.

Postscript: I forgot another thing that bothered me about the book. There are lots of references to modern pop culture, but Franzen seems to be of two minds: at one point, he references a "famous director," but at another point, he namechecks Stephen Malkmus. One style suggests that Franzen wishes to strip temporal reference points from his book in order to give it the tone of timelessness; the other suggest that Franzen wants to act as a testament to his own place and time in the universe. Choose, dammit.

Thursday, December 27, 2007

"They had the rear of the bus to themselves on the ride back, the motor right below them, heat beating up, and they dozed on each other's shoulders, faces sun-tight and eyes stinging slightly, tired, hungry, happy, the bus belching heat below them."

"I long for the days of disorder. I want them back the days when I was alive on the earth, rippling in the quick of my skin, heedless and real. I was dumb-muscled and angry and real. That is what I long for, the breach of peace, the days of disarray when I walked real streets and did things slap-bang and felt angry and ready all the time, a danger to others and a distant mystery to myself."

If you require a strong, linear plot to propel you through a novel, then Don DeLillio's massive tome about Cold War America isn't for you. If you like endings that time up everything neatly, or where all the loose ends are tied together into a nice braid, this probably isn't the book you should pick up. If Hemmingway is your favorite author, well, the excerpts at the top of the review should tell you all you need to know.

If you've enjoyed DeLillo in the past and you like sprawling, epic novels, you owe it to yourself to check out Underworld. Ostensibly tied together by the movement from person to person of the home-run ball from "The Shot Heard Around the World." Within its path are the lives of dozens of characters, the main one of which, Nick Shay, has a secret that forms what tension exists in the book. The book isn't intended, however as a thriller. It's a slow moving slice-of-life about paranoia, death, religion, growing old, America, the Cold War, and the latter half of this century. I personally found it hard to put down, and I have to say that the prose is some of the most beautiful I've ever read. There's a passage near the end of the book that describes a landfill in such a tragic, nostalgic way that it almost gives me chills. That takes some skill.

The book is 827 pages long, but despite that, felt a lot shorter than Cosmopolis, one of the other two DeLillo novels I read this year. Underworld also eschews DeLillo's usual trademark of keeping a safe emotional distance from his characters, choosing instead to relate their inner turmoil through incomplete sentences, awkward pauses, strange guestures, and every other tool at his disposal. This book was recently chosen as runner-up for the best work of American fiction in the last 25 years. I would say it deserves those accolades. It was a challenging book, and it ends my 50 with a bang.

Tuesday, December 25, 2007

Christopher wrote a nice review of this book, in which he placed the work within the larger historical context of children's literature. That is an interesting facet of the book. At the time when Wonderland was published, children's literature was instructive and largely religious in nature. So, Carroll's absolute absurdism was something out of the ordinary.

The comedian Jim Gaffigan does a bit about dreams, in which he points out how people are alway really keen to tell others about their dreams, but to anyone but the ones having them dreams are horribly boring. That's how I felt about Wonderland and Looking Glass. While each had their moments of creativity, I generally found them to be quite tedious. I am sure that within the pantheon of children's literature, these works are extremely important, that they marked a veritable sea change...I just didn't care for either.

Saturday, December 22, 2007

Middlesex tells the story of Cal(lie) Stephanides and his family, several generations of it. Cal is a hermaphrodite, a person with both male and female sexual characteristics, and the book traces the gene that made him what he is.

From his grandparents' unusual courtship and exodus from Greece in the wake of Turkish Invasion, to his parents' taboo pairing, I found the stories of Cal's family very interesting, and it's a good thing too, since Cal's actual story only takes up about one-third of the book's nearly 530 pages. A lot of the reviews I read complained about this, but it didn't bother me, probably partly because I knew nothing about the book before starting it except that I liked the cover and Eugenide's previous book, The Virgin Suicides.

As you might expect, there's some pretty hosed-up stuff in the book, from some horrific violence during the escape from Greece to the dryly medical explanation of Cal's condition. His first sexual encounter, the growing sense of dread that someone will eventually learn his secret, the anticipation of when Cal himself will realize he's different—all of these combine to make the book compulsively readable.

The ending is very well done and quite affecting, and I think Middlesex probably ranks as one of the best modern novels I've read this year. If you're not too bothered by disturbing imagery and you don't mind sprawling narratives, check it out.

I was in SC visiting Liz, and I was with her at her office with no internet and nothing to read. I enjoy punctuation as much as the next guy, so I picked up Eats, Shoots, and Leaves. If collections of essays don't lend themselves to reviewing, humorous punctuation handbooks lend themselves to it even less so, so I don't know how much I have to say about it. Lynn Truss is a pretty funny writer, and she had a lot of good one liners. Most of the grammatical rules, I already knew, although the evolution of certain punctuating characters was interesting, and I'm still hoping the interrobang will pass into popular usage.

I sort of like the panda bear with a gun on the front cover too. I'd read a book about him.

When Noah Webster wrote the dictionary in 1757, he created the English language, but more importantly he created the word super. Well, when our neighbors across the pond found out about this new language a hundred years later, they decided to make a dictionary of their own, but they weren't satisfied with the word super. The OED needed a better word, so James Murray and some looney named Minor added a letter to it, thus inventing the word superb. That is what this book is.

OedipaMaas is our protagonist. On page 1 she is summoned to execute the estate of a billionaire friend and heads off to southern California to do so. Once there she discovers a clandestine postal system with roots in the middle ages that's been illegally competing against the USPS in a massively orchestrated conspiracy. The muted post horn is their symbol and it's seemingly graffitied everywhere once she starts to look for it.

The book is filled with references. Everything is a reference. I don't even think Pynchon would catch them all if he reread it. He pokes fun at cultural phenomena like Beetlemania and urban sprawl (read California). He mocks used car salesmen, psychiatrists, commercial radio, stamp collectors, pseudo scientists, sex, marriage, and drugs. There are words in Spanish, French, Greek and Dutch. The novel is short in length but huge in scope. Yes it's about a conspiracy, but you won't find it mixed in with those cheap paperback mysteries you find in the grocery. It's not just plot. It's dense.

I think it merits a second read. I'll probably go back through it next year. This is the first book by Pynchon I've read, and I've heard his others are much longer, so it's a good starting point. Read it and enjoy it.

Friday, December 21, 2007

Like the other collections of essays I've reviewed this year, How to Be Alone doesn't lend itself to easy reviewing. It's made up of a series of essays that Franzen wrote between 1995 and 200o-something, and they cover topics ranging from his father's slow descent into Alzheimers, to some of the unbelivable oversights of the US Postal Service, to the ubiquity of sex-help books.

I found the essays in the collection quite moving and interesting for the most part. The running theme throughout is a loss of privacy and personality in a modern world, but the essays rarely seem curmudgeonly. The exception is his essay on literature in which he direly predicts that the novel will be virtually extinct within a few years, a bit of a paranoid reaction to have immediately before hitting it big with The Corrections. And, speaking of that book, the first essay about his father's disease makes it clear just how personal much of that work was. My favorite essays, however, were the one about the derelict postal service in inner city Chicago, and 'Reading in Bed,' the bes essay on sex in the public life that I've read.

If you enjoy essays (or if you liked The Corrections, as I did) you'll probably enjoy How to Be Alone. At least check out 'Reading in Bed.'

Cast:Judge McKelva - A kindly old judge whose surgury for a detatched retina goes wrongLaural McKelva - The kindly judge's daughter, in town to support her sickly fatherWanda Fay - Judge McKelva's boorish second wife

This is pretty much the entire cast of The Optimist's Daughter. I purchased this book at a library book sale for a quarter, partly because I'd heard of Eudora Welty and partly because this book won the Pulitzer Prize.

Well, on one level, it's not too difficult to see why The Optimist's Daughter appealed to the Pulitzer committee: It's got both death and self-discovery, some regional humor and commentary, and a slow-moving plo that probably has a lot going on beneath the surface. The prose is prety without being overwrought, and the first part of the book, while Judge McKelva is recovering from surgury for a detatched retina, moves along at a nice clip, and fosters a fine sense of dread. The downside is that, once the Judge dies, the narrative movement in the book halts almost completely. Although the entire novel is only about 120 pages long, the last 60 pages moved at a crawl as either a) Fay does somehing cruel and thoughtless and Laural reacts to it by running off to be by herself or b) Laural has some personal revelation that never packs the power we sense it should.

I'll be honest, I may have gone into the book with the wrong expectations, but I read through waiting for a revelation that never happened, following characters I didn't care much about. There were a couple spots where the writing was powerful enough to make up for it, but for the most part, The Optimist's Daughter was too lethargically paced for me. It's not a bad book, but I don't think it's for me.

Wednesday, December 19, 2007

A group of ex-patriots go out drinking in Paris and San Sebastian sometime after WWI but before the Great Depression. Jake, a journalist and classic Hemingway bad-ass tough guy catch-fish-with-his-bare-hands character, once had/still secretly does have a thing for Bret Ashley, a somewhat shallow yet entirely human British aristocrat who is basically a tease to every man she meets. All they and their cohorts seem to do is get drunk in cafés, an activity that culminates in a week-long bull fighting fiesta in Northern Spain.

The novel, like every other Hemingway, is written in a really simple, natural style, but is never lacking in depth or characterization or description or anything else that makes a great novel great. I personally liked The Old Man and the Sea better, but that's probably because I just don't understand this generation at all. They don't really do anything. It actually reminds me of some of my friends who just go to the same bars with the same people week after week after week and never do anything exciting or unique. Except in this novel the people were doing stuff... fishing, bull fighting, traveling, but they were still incredibly jaded.

I'd read The Sun Also Rises over The Great Gatsby for sure. Plus, Hemingway could kick Fitzgerald's ass if it came down to it. Solid B+

Thursday, December 13, 2007

Holy crap, did this book suck. The review is going to be one big spoiler.

I'll summarize the plot as quickly as possible. The protagonist is a former model who had the bottom of her face shotgunned off. She travels around the country with her ex-boyfriend, a former cop/male hooker, and Brandy Alexander, a transexual “queen supreme.” Together, they run around the countryside, stealing drugs from old rich people. There's also a former best friend, Evie, who mostly stopped associated with Daisy. Brandy and Protagonist are both slipping female hormones into Boyfriend's drinks, so he is developing breasts and crying a lot.

So, here are the twists: Brandy is Protagonist's twin brohter, who she didn't recognize because of the sex change operation. He doesn't recognize her because half her face is gone. Also, we find out that Protagonist shot her own face off because... well, because Palaniuk had an idea that might have sounded neat when I was 15. She shot off the bottom of her face because it was the thing she least wanted to do. Same reason Brother became Brandy. Duh. Oh, also, Evie turns out to be a transsexual too, and Brandy blows her away at the end. At least, I think it's Brandy who does that.

Despite its pulpy sensationalism, Invisible Monsters was unbelievably dull. This is the second Palaniuk I've read (Diary was the first), and I feel fairly confident in saying that he's a total hack. There's nothing compelling or interesting in his work. Only a grade-school subversiveness and lots of dirty words. This book wasn't worth the time it took to write this review.

I enjoyed this book very much. Had I not stopped for a lunch break, I probably would have finished it in one sitting. Read Brent's review for a plot summary.

The plot reveals itself gradually throughout the book, with characters and events becoming more and more connected along the way. He hints that stories mimic spiderwebs, which describes his own story well. Is metanarrative the right word? It's all done really cleverly, but it's not disposable in the way that M Night Shyamalan movies are. Not a one-time use. The ending is nothing special. The real entertainment is in how the story is put together. I give it an A.

As I Lay Dying currently holds the prize for the book I've started and put down the most times. I think I started it four times, got about 25% of the way through, and then realized I really didn't know what was going on. This last time I read it, I finally made it through, and now I'm not quite sure why it was so difficult.

As I Lay Dying tells the story of Addie Bundren, her death, and the subsequent trip to her hometown where she wanted to be buried. Each chapter is told from the point of view of a different person, and the book has quite a large cast. The sons: enigmatic Cash, borderline-empathic Darl, loner Jewel, youngest child Varadman; the daughter, confusingly named Dewey Dell; Anse, the selfish, uneducated father; and an extended cast of characters encountered along the way. Even Addie takes a single chapter to speak from beyond the grave.

Spoilers Follow.

Although the family's quest to bury Addie where she requested initially seems like a selfless act, some of the family members have ulterior motives for wanting to make the trip to the big(ger) city. Anse is already looking for a new wife and Dewey Dell is looking for a way to kill the baby no one knows she's carrying.

The tone of the entire book is pitch black and macabre, full of distasteful and distubring bits. Vardaman, drilling holes in the casket so his dead mother can “breathe”, drives a spike too far into the casket and into her face. Cash's leg is broken, so Anse encases it in cement, creating a makeshift oven in which it is eventually essentially baked alive. Dewey Dell is duped into a “Treatment” for her pregnancy that's essentially rape. Anse finds a new wife a day afer burying his old one. Not to mention that about halfway through the book, Addie Bundren's body begins to rot and smell so badly that the Bundren's are nearly arrested.

I read some analysis of this book after I finished it, and a lot of folks read it as a sort of black comedy. It's not an impossible viewpoint to adopt, but it requires a darker eye for humor than I have. I found the story mostly disturbing, but I also found that the initially confusing style added quite a lot to the narrative. We don't know if we can trust the narrators, and even if we could, their stories are delivered in a stream of conciousness style that is reinterpreted everytime a new character shares his viewpoint.

Overall, As I Lay Dying was a very good book, and I'm unsure if it made me want to read more of Faulkner's work or stay away from it. Faulkner reportedly wrote As I Lay Dying insix weeks and claims he didn't change a word. He is also quoted as saying that he wanted to write one book that his reputation could stand or fall upon. The book is a fish.

Edit: When I googled for this cover, the entire first page was the metalcore band As I Lay Dying. Lame. guys.

Wednesday, December 12, 2007

I was in an airport bookstore and decided to purchase this book because it matched the outfit I was wearing, thinking that I would look cool carrying it around Terminal B. I bought it, flipped it open, stuck a bookmark between two random pages, and began strolling through the airport, confident in the look that I had carefully cultivated.

The book is written by Da Chen, who was born during Mao Zedong’s Cultural Revolution. His family was part of the landlord class, a class that was despised under the new communist regime. His father and grandfather were forced to perform strenuous physical labor, were often beaten, and nearly always ridiculed. Here is an excerpt regarding the rules that were to govern Grandpa’s conduct:

“Since the beginning of the Cultural Revolution, the commune cadre in charge of landlord reform had set the following rules: Grandpa could not visit his friends, he could not leave town without advance permission, and he was to write a detailed diary of his life every day. This was to be turned in every week. He wasn’t welcome in any public places, could not engage in any political discussions, and should look away if someone spit in his face. If they missed, he was to wipe the spit off the ground. There were more rules, but Grandpa forgot some when he came home to tell us about them.”

Chen befriends a group of hoodlums in his early teenage years, and he almost completely gives up on school, which was not that much of a surprise since intellectualism was a big “no no” during this time. This part of Chen’s life has elements of Oliver Twist, Huck Finn, and the countless other young, ragamuffin protagonists of English literature, the chief difference being that these “stories” are the real-life experiences of Chen.

Chen describes his early life and his hometown of Yellow Stone with simple prose. He manages to be clear and straight-forward while at the same time interesting and humorous. The book ends with Chen in his late teens, but it really feels like the story is just beginning, that there is still so much more. I wanted to know what transpired that enabled this young man in this small Chinese town to have his memoirs published by Random House. That is obviously not the story that Chen wanted to tell. But I think it too would have been an interesting one.

Saturday, December 8, 2007

Jonathan Franzen's The Corrections is probably most famous for the brouhaha that occurred when Oprah selected it for her book club. Franzen made some unflattering comments about Oprah's audience and that ubiquitous sticker, and Oprah retracted her invitation for him to appear on her show. The Amazon reviews for The Corrections are split almost exactly between 1 and 5 star reviews, with many of the 1 star reviews mentioning Franzen's slight of Oprah and barely commenting on the work itself. Even Carlton, a huge fan of the greatest woman who has ever lived, dismissed the book after reading it because of what he termed Franzen's "inappropriate comments." I ask you, how is a book like this supposed to get a fair reading? Well, by being read, of course.

The plot of the book is rather simplistic on its face. Alfred Lambert is suffering from progressive dementia brought on by Alzheimers. Enid is his put-upon wife. Their son Chip is a disgraced college professor turned slacker. Their other son, Gary, has been financially successful but feels like an outsider in his own family, due partly to his clinical depression and partly to his shewish wife, and their divorced daughter Denise, who is experimenting with lesbianism. The storyline in the Corrections takes place mostly in the past, showing how each member of the family arrived at their current state and ultimately culminating in the family's last Christmas reunited. I won't say much about their eventual decisions and the results because Chris is reading the book and I don't want to spoil it.

This year, I've read more postmodern literature than ever before, and The Corrections seems to fall in that class. Most notably, I detected echoes of Delillo's White Noise. Many of the trademarks of pomo lit are here: the trivialization of the personal, the degeneration and reinvention of traditional roles, and the isolation and impersonality of the modern world. What was more surprising to me is the heart present here. Although there are elements of nihilism in The Corrections, the tone of the book overall is fun and incisive, and the characters, though deeply flawed, aren't emotionless caricatures. I wanted Chip to come home for Christmas, for Gary to reconnect with his family, and for Denise to succeed in something, and the book wants them to as well.

I am curious about why postmodern writers seem to have a fixation on bodily functions. There were two or three passages in the book about Alfred being tormented by a small chunk of fecal matter. I don't think that happened in any of the other books I read this year.

Thursday, December 6, 2007

The Bridge of San Luis Rey tells the story of a bridge that collapses in the early 18th century between the cities of Lima and Cuzco in Peru. A Franciscan monk named Brother Juniper witness the incident and decides that this tragedy provides him a perfect test case to prove that we live by God's plan, and that there are no true accidents. Accordingly, he investigates the lives of the five people who perished on the bridge, and goes so far as creating a chart of their goodness and usefulness to compare to those who survived.

That, however, is only the frame story--the bulk of San Luis Rey is three tales which describe the five victims of the bridge collapse: The Marquesa de Montemayor, Esteban, and Uncle Pio (also perishing are the Marquesa's orphan ward Nina and Uncle Pio's student-to-be Jaime). The three stories are finely intertwined, and share many other characters in common, principally a character named the Perichole, a reknowned (and historical) Peruvian actress. The Marquesa is a widely belittled public figure whom the Perichole ridicules during a performance (but, we learn later, the Marquesa's letters to her daughter in Spain become treasured as a literary achievement after her death). Esteban is the bereaved twin brother of Manuel, a poor orphan copies letters for and is in love with the Perichole (before he dies of gangrene). Uncle Pio is the Perichole's benefactor, to whom she entrusts her son Jaime as a student. There are other recurring characters, like the Abbess and orphanage director Maria del Madre Pilar, and the Spanish Viceroy Don Andres de Ribera, but the Perichole is the closest thing that San Luis Rey has to a main character.

Ultimately, Brother Juniper is unable to come to a conclusion regarding the plan that sent these five to the great beyond, and the book he writes is condemned as heretical. The Bridge of San Luis Rey, too, seems to lack a certain answer regarding why they had to die this way, but there is no doubting that there is an interesting pattern at work in the interwoven threads of the story. When the Perichole and the Marquesa's daugter, Dona Clara, come to serve in the Abbess Maria del Madre Pilar's abbey, there is the suggestion not that their dedication to God in the face of suffering is the result which justifies the tragedy, but that at least there is some faint echo of purpose and design.

I liked this book, though at a tiny 110 pp. it seemed a little inconsequential--which is quite the opposite of what it intends, I think. That however, is probably just my hang-up. It did win the Pulitzer prize in 1928.

Wednesday, December 5, 2007

At exactly 11:25 am this morning, the last American to never read a Harry Potter book finished The Sorcerer's Stone. That American was me.

What did I think of it? Well, it's hard to say, exactly. Harry Potter has inundated our culture at a ridiculous speed; the stuff in The Sorcerer's Stone might as well be Alice in Wonderland. Hogwarts, Diagon Alley, the golden snitch, Gringotts, Nearly Headless Nick--all that stuff is as widely known as the Queen of Hearts or Tweedledum and Tweedledee (and probably more widely known than the Lobster Quadrille). As a result, there was no way to reproduce in me the sense of wonder and amazement that is one the Potter series' chief virtues. I mean, shit, how many times have I seen the film of this movie, which already contains the best ideas and jokes?

That being said, even though I stubbornly resisted Pottermania, I do have a lot of respect and admiration for the colossal panorama that is the Potter series, which is basically a modern pop opus stitched together with ideas from lesser works (I can think of two or three "school for wizards and witches" books and shows from when I was a kid, though none so fully realized) that has the unique quality of growing darker and more mature as it follows its main character.

Still, I had trouble enjoying The Sorcerer's Stone, which, for me, was almost like reading a hastily written novelization of a popular movie. The prose is as good or worse than I had imagined, and often times descends into what sounds like advertising copy ("Had Hagrid collected that package just in time? Where was it now? And did Hagrid know something about Snape that he didn't want to tell Harry?"). Shouts and screams are rendered in all caps and dialogue is paced like a movie script, and Rowling does a whole lot of telling rather than showing.

It isn't great literature, then, but I don't think it's supposed to be; the Potter series' worth ought to be gauged more as a pop culture phenomenon. Still, I didn't get much out of the book (I'd rather watch the movie) and I hope that if I actually bite the bullet and read anymore they'll get a little bit better.

Bonus note: The American version of this book uses the title "Sorcerer's Stone" instead of "Philosopher's Stone," but also "soccer" instead of "football," which I guess made sense when they thought it was going to be basically a kid's book but now is kind of annoying and/or insulting. I suspect "candy" has been changed from "sweets" as well. Ought we to understand the fact that the movie uses largely American vocabulary in the mouths of British children as an example that America has appropriated what might otherwise be seen as a peculiarly British work of literature? Go USA!